History and Microhistories of Social Education in Spain

Social education in Spain has become increasingly popular in recent decades as both a socio-educational action/intervention and as a profession. The history of social education is a combination of various microhistories that have evolved within different areas. In order to understand the “micro” component of these histories, we need a perspective of the “macro,” while also keeping in mind that the microhistories are essential to understanding the true development of social education on a general level. The goals of this research are: to approximate the key historical antecedents that have influenced the development of social education in Spain as both a socio-educational action/intervention and a profession, to demonstrate the importance of analyzing the history of social education through microhistories, and to indicate the key elements and criteria necessary to carry out our microhistory of social education. Our methodology is the state of the field documentary research modality, which facilitated our study of the collective knowledge addressing a pedagogy of social education. This qualitative-documentary and critical-interpretive methodology followed these steps: contextualization, classification, and categorization. The main conclusion will indicate the definition of key points as well as the criteria necessary to be able to carry out a microhistory of social education.

The Structural Changing Phases of Ifẹ̀ Festivals and Tradition Towards Economic Boost and Cultural Tourism

Festivals provide information on the origin of beliefs, historical antecedents, socio-cultural and socio-political desires, meant for bonding. The resultant effect of participation in festivals enables the participants to protect and sustain the festivals. However, our research informs that a number of the official festival activities with the tones of its referred sacredness in Ilé-Ifè, which ̣ is the domain of data collection and subject of our analysis, are being restructured in outlook and content to boost the economic survival of the people; and for cultural tourism. Tis essay seeks to interrogate these structural reforms, with the mind of identifying improved areas of the age-long tradition, the philosophy of the festival, and the economic value added. The apparatus of analysis shall premise on cultural semiotics and sociology of literature.

The Hungarian Dance Theatre Education

The purpose of the paper is to give an overview of dance theatre education related to Hungarian contemporary dances and relying on the results of current and still ongoing research. The paper surveys the embeddedness of participational dance education programmes in the structure of prose/drama theatre education, as well as the historical antecedents of its diverse methodology, its forms of financing throughout times and its activities.

Building Africa’s Homegrown Humanitarian Systems: Restoration as an Alternative to Localization

Many humanitarian actors now recognize that it is crucial to build response structures on the basis of the norms, knowledge, and institutions of those affected by disasters. Currently, this concept has been captured through the term localization. However, the use of localization both as a term and process has so far been done without critical reflection on the traditional meaning of the term, and the impact of its historical application. It has also come about without proper historicization of the broader localization process and how this related to historical antecedents. This paper problematizes localization as a troubled term that describes a concept that has been applied in the past to help erode the homegrown humanitarian initiatives that Africans started. It draws attention to how international humanitarian actors established themselves in Africa as a process of localization which eventually contributed to the erosion of the homegrown initiatives that they interacted with. Given its historically erosive effects on homegrown initiatives, localization, the paper argues, is a troubled term that cannot be redeemed or repurposed for the current attempt to build humanitarian action on homegrown structures. A more reflective and appropriate term is restoration, which not only recognises this history of erosion, but repairs historical mistakes, and ensures that homegrown structures are built in a sustainable manner that avoids a repeat of those mistakes. Restoration in practice should be based on self-determination, and will depend on the leadership of African states, their ability to create a conducive environment for homegrown NGOs to thrive, and the successful synergies they build with other restoration processes across the continent. International actors will have to intentionally reconcile themselves with their erosion footprints, exercise restraint, and scale back their involvement so that local actors can gain the space to evolve. The paper concludes that all this starts with the ability of those leading the process to build homegrown structures to imagine an alternative humanitarian future.

The deconstruction of Byzantine mode-organization and the new Chrysanthine ‘order’

This paper was written to commemorate the 200th anniversary of the publication of musical treatise by Archbishop Chrysanthos of Madytos (c.1770-1846), the first work towards a ‘scientific’ treatment of Greek ecclesiastical music (1821)[1]. Chrysanthos attempted to reorganize the modal and rhythmic theory of this music, and reform the musical notation that has remained to this day. The paper deals with an aspect of Chrysanthine modal system that has not received due attention so far: the abandonment of the traditional authentic-plagal order and its substitution by a new one that does not make sense if placed outside its cultural context and historical antecedents. Chrysanthos’ main point of reference seems to be the Ottoman makam system that had already penetrated post-Byzantine chant but was now given a new momentum[2]. Before that, Greek composers used the Byzantine modal division into four authentic (kurioi) and four plagal (plagioi), positioned a fifth apart from each other. The authentic modes were mostly ascending in terms of melodic movement, whereas the plagal were descending (though one has first to ascend in order to get down!). Otherwise, every authentic-plagal pair shared the same melodic scale (usually an octave), which they traversed according to certain melodic motifs (some common to all, others unique to every mode).[1] Chrysanthos, Εισαγωγή εις το θεωρητικόν και πρακτικόν της Εκκλησιαστικής Μουσικής / συνταχθείσα προς χρήσιν των σπουδαζόντων αυτήν κατά την νέαν μέθοδον παρά Χρυσάνθου του εκ Μαδύτων, Διδασκάλου του Θεωρητικού της Μουσικής (Paris: Rigny, 1821).[2] In this paper, the Turkish terms have been rendered into their original script except for makam (mode) and usul (rhythm), the Anglicized plural form of which (makams and usuls) has been preferred instead of the longer makamler and usuler. The Greek names have been transliterated into Latin according to British Standard for transliteration of Cyrillic and Greek characters (BS), 1958.

Biblical Hermeneutics

This chapter presents a survey of biblical interpretation in the Byzantine world from late antiquity through the late Byzantine period. Literary genres, schools of thought, historical periods, as well as major writers, theologians, and exegetes are covered. Consideration is given to the historical antecedents of Byzantine biblical hermeneutics in Jewish and Greek interpretive practices. Significant emphasis is given to hermeneutical questions, with special attention to allegory. Many of the texts that are surveyed are either unpublished, unavailable in modern translations, or only poorly known by scholars, opening up avenues for new research and study.

Revisión bibliográfica sobre la memoria histórica de pandemias anteriores en revisiones de enfermería sobre COVID-19: una realidad secularmente documentada

Introducción: Las revisiones sobre COVID-19 deberían reflejar antecedentes históricos de anteriores pandemias. Objetivo: Nos planteamos mapear el contenido de revisiones recientes, en el área de enfermería sobre COVID-19, para comprobar si se hace alusión a crisis sanitarias por epidemias y enfermedades infecciosas. Metodología. Revisión narrativa descriptiva. Se consultaron la Web de la Ciencia, PubMed y Lilacs para identificar las revisiones; se consultó el contenido de los documentos para detectar la presencia de descriptores y términos relativos a las pandemias anteriores al siglo XXI de la humanidad, atendiendo a los criterios de inclusión y objetivos del estudio. Resultados: Sólo en 11 documentos de los 192 identificados se localizaron reseñas pertinentes. Conclusiones: Pueden existir reticencias a la hora de utilizar documentación publicada hace más de un siglo; sin embargo, sería aconsejable no perder la memoria histórica de crisis pandémicas que ha padecido la humanidad durante milenios. Introduction: Reviews for COVID-19 should reflect historical antecedents from previous pandemics.Objective: We plan to map the content of recent reviews in the nursing area on COVID-19 to see if it refers to health crises due to epidemics and infectious diseases.Methodology: Descriptive narrative review. The Science Web, PubMed and Lilacs were consulted to identify the reviews; The content of the documents was consulted to detect the presence of descriptors and terms related to pandemics prior to the 21st century of humanity, taking into account the inclusion criteria and objectives of the study.Results: Relevant reviews were found only in 11 documents of the 192 identified.Conclusions: There may be reluctance to use documentation published more than a century ago; However, it would be advisable not to lose the historical memory of pandemic crises that humanity has suffered for millennia

Relocating Brazil’s Capital Inland

When Brasilia was inaugurated in 1960, the Serviço de Documentação (Documentation Service) in the Brazilian president’s office published a multivolume compendium of collected and annotated excerpts from historical antecedents that had considered the idea of relocating Brazil’s capital. Based on this publication, in addition to archival material from other sources, a history can be traced of a long-standing, even if discontinuous, desire to locate a capital in Brazil’s interior. It is a desire that can be framed within disparate political projects, such as the shifting away from Lisbon as the center of the Portuguese empire, the transformation of a colony into a kingdom, the liberal repudiation of an ancient régime monarchy located in South America, or the construction of a unified and modern Brazilian nation. Not only was a capital finally built in Brazil’s central plateau, but also the very architectural and urban form of Brasilia is today legally protected in perpetuity and on UNESCO’s list of World Heritage sites. As a companion to the article, the reader can consult the website pilotPlan, a searchable digital atlas that illustrates the urban and architectural evolution of Brasilia, as it existed and as it was imagined.

Representation, Radicalism, and Music “After Sound”

This commentary presents an experimental-composer’s perspective on contemporary music therapy practice. I begin by offering my impressions of the field, gathered through interviews with practising music therapists, and an examination of the relevant literature. Then, the commentary first draws upon G. Douglas Barrett’s radical post-sonic theorisation of music to question the future of existing music in therapy, before instrumentalising avant-garde aesthetics to imagine what music may become in music therapy. This exploration will pay particular attention to the impacts of the dematerialisation of the art object in contemporary art, and the potential benefits a similar decentering of sound in contemporary music practices may provoke—specifically, the creation of theoretical frameworks that further suppress the authority of canonical forms, and increased contributions from previously-marginalised groups. Next, the commentary presents an analysis of two recent musical compositions that determinedly decenter sound, before examining the appropriateness of this aesthetic to therapeutic contexts. Finally, the commentary signposts a number of historical antecedents that illustrate music therapy’s potential for rigorous (and radical) selfexamination, and examines how these efforts may be expanded.